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MEMORIAL EXHIBITION OF PainTINGs By 


MAX BOHM 


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GRAND CENTRAL ART GALLERIES 
FIFTEEN VANDERBILT AVENUE NEW YORK 








Dies bOFHM &¢ AN. APPRECIATION 


LWAYS, in any consideration of a man’s 
work, we should first find his viewpoint, 
and from that follow the delivery of his 
message, whether it be in the fields of 
plastic art or in the elusive presence of 
music or poetry. 

or technique is of value, but not the 





highest. 

In the work of Max Bohm we see at once the nobility 
of his intention, and the understanding of projection, 
which is a feature of composition little understood. 
Couple these two things with the other two, color and 
rhythm, and we are near to his means of expression. 

This achieved, there rises before us great nobility of 
mass, color as sumptuous at times as the Venetians, and 
a rhythmic placing of form which tells us at once that 
the work is monumental. 

Nowhere will we find frivolity or niggardliness. He 
was an artist dealing with ‘Titans, himself akin to 
them. 

At a moment in the world when figure painting is in 
danger of becoming absurd when it is not vulgar, Max 
Bohm’s work compels cultivated attention. His passing 
was all too soon, for we needed his strength; but in his 
works as we see them before us we may drink deeply of 
a fountain which renews strength and uplifts spirit. A 
man’s life is well lived which can leave such an inheritance 
to a busy people. 


Elliott Daingerfield. 





MAX .BOHM 2  H DS(eeiaoe 





AX BOHM was born in Cleveland, Ohio, on 
January 21, 1868. From childhood he had 
shown an interest in art and at nineteen years of age 
an opportunity was offered him to go abroad. Here 
in the schools of Jean Paul Laurens, Lefebvre and Ben- 
jamin Constant he received his early training, attaining 


signal success almost immediately by having a picture 





hung on the line by the Paris Salon. His fame and 
reputation soon increased, and seven years later his pic- 
ture “En Mer” was awarded the Gold Medal by the 
same institution. “This last picture and ‘Crossing the 
Bar” are representative examples of the strong and pow- 
erful imaginative handling Max Bohm showed in his 
treatment of the prosaic life of the fishermen of France. 


Later he took up teaching and for twelve years he was 
a lecturer in France and in London on the theory and 
practice of picture composition and an instructor in paint- 
ing. The French government purchased the large picture 
“Golden Hours” to incorporate it in the collection at the 


Luxembourg Gallery. At this time he was painting in 


the main women and their children, representing the joys 


and unselfish love of motherhood, some of his most notable 








View h OTM «# HIS. LIEE 











canvasses besides “Golden Hours” being “The Happy 
Mother,” ‘The Goat Girls, “On the Sands,” and 
“Golden Summer.” His paintings are vigorous, ex- | 
tremely imaginative in subject, generally of the utmost 
simplicity, full of character, and in every instance very 


individual. 


Max Bohm lived and painted in many lands and is 
represented ‘by portraits, pictures, or mural decorations 
in the State Capitol, St. Paul, Minn.; The National 
Gallery, Washington, D. C.; The Minneapolis Fine 
Arts Museum; The Luxembourg Gallery, Paris, France; 
‘The Palace of Justice (new court house) in Cleveland, 
Ohio, and by important works in private homes. His 
most notable decorations are the three large panels, con- 
taining many figures, romantic in design, in the residence 


of Mrs. J. M. Longyear, at Brookline, Mass. 


He received numerous honors at home and abroad, 
the latest being a gold medal at the Panama-Pacific In- 
ternational Exposition at San Francisco. In 1917 he re- 
ceived the Clark prize for the best figure composition 
(“Children in the Sands”) and was made a member of 
the National Academy of Design. 





Santo) Wage eens, Oh eae aOR 





Vi a Oe Elev H 1S See 


Max Bohm was intrusted with the organization of 
some notable art exhibitions, among them the Anglo- 
American Art Exhibition at London, England, in 1914; 
was a member of the advisory board (Paris Section) of 
the Panama-Pacific exhibition; the exhibition for the 
Modern Portrait Society in London, and various exhibi- 
tions in France. Mr. Bohm spent many years in Paris 
and London, was a constant exhibitor in the Paris Salon, 
and, when in London, in the Royal Academy, as well as 
in other important cities in both Europe and America. 

He was a member of the Chelsea Arts Club, London, 
England (director, 1908-09); Paris Society of American 
Painters; American Art Association, Paris (director 
1914-15); Cleveland Art Club; Salmagundi Club, New 
York; National Academician, 1920; the Architectural 
League, New York; Life member of the National Arts 
Club, New York, and an honorary vice-president of the 
New York American Rights Committee. 


Max Bohm was a big man physically, and there is 


something correspondingly big and broad and idealistic 


about everything he did, whether it was an easel picture 


or a more monumental mural. 





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THE PROMENADE 

En Mer (At Sea) 

Joyous YOUTH 

LittLe GIRLS witH Toys 
CROSSING THE Bar 

GOLDEN AFTERNOON 

THe Eveninc MEAL 

LAUNCHING A BOAT 

Portrait oF Mrs. BoHM 

THE NorsEMEN 

THE REVEREND Mary Baker Eppy 
“SUFFER LITTLE CHILDREN TO ComME Unto Me” 


VoTING AT NEw ENGLAND Town MEETING 


(Sketch for mural decoration in Palace of Justice, 
Cleveland, Ohio) 


THe Happy MorHer 

MoTHER AND CHILD 

THE Poet 

RECONSTRUCTION IN FRANCE (unfinished ) 
St. VALERY, FRANCE 
LIEUTENANT COLONEL DriIscoLu 
SEA BABIES 

Tue Gypsy Camp 

YOUTH 

SPRINGTIME 

Lapy Grove 

GREETING THE Morninc 
EVENING ALONE 











NATURE AND IMAGINATION 


This picture was selected out of Max Bohm's Exhibition at the Salmagundt 
Club, by the Metropolitan Museum of Art, New York, to be incorporated 
in their permanent collection. 





“SUFFER LITTLE CHILDREN TO CoME Unto Me” 


Lent by Mrs. J. M. Longyear 





CROSSING THE BAR 


Courtesy Grand Central Galleries. 





MENADE 


THE Pro 





GoLpEN Hours ; 





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PorTRAIT OF THE ARTIST AT THE AGE OF NINETEEN 





MoTHER AND CHILD 


Now hung in the Permanent Collection of the National 
Gallery at Washington, D. C. 





Portrait oF Mrs. Boum 


 soeec ceases wane woot poneeeoeten: Sennen resenee nt Wn Ras nucwnnnine mn Meee eT 


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ADY GROVE 


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PortRAIT OF L 


“| 1 IS a great honor to be able to present a 
Memorial Exhibition of the importance 
and distinction of this collection of works 
by Max Bohm. It is unnecessary to dwell 
at length on the works of this great 
Master, as each canvas speaks for itself in 
a way that can be understood by everyone. We feel that 
it is rendering a service to all those interested in American 
Art to be able to assemble and show Mr, Bohm’s more 
important works as a group, and we hope that all who 
have an appreciation for sincere, earnest and intelligent 
artistic effort will make it a point to view this Exhibition. 


Grand Central Art Galleries 





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